In Deep With Edie Brickell

Welcome to Forgotten Videos. Well, for some forgotten, for others just filed away, and for others still, a totally brand-new discovery. Whichever category you fall into, each week we'll feature a video that's possibly been collecting dust when what it really deserves is a fresh look. Or, we'll be giving a fresh look at a video that deserves to be collecting dust. We're not here to judge, we just want to take you on a little trip down memory lane. Yep, you'll remember when hair was really that big, when drums were that up front in the mix, when video was young(er) and so were you.

Edie Brickell & New Bohemians"What I Am"1988

With the proliferation of rock and rap artists dominating MTV's airwaves in the late '80s, in slid Edie Brickell & New Bohemians to offer the kids a thought-provoking, left-of-center pop alternative.

After emerging as favorites on the Dallas music scene, the Bohemians caught the attention of Geffen Records and released their debut album, Shooting Rubberbands At The Stars, in 1988. Preceding the album, the Bohemians shot into the limelight with the release of the single "What I Am," which topped out at No. 7 on the Billboard Hot 100. The video garnered heavy airplay on MTV, depicting what appears to be a midnight band rehearsal in a bohemian-style attic, with Edie bobbing and swaying to the music in and around mannequin busts and trance-inducing lightbulbs.

Lyrically, the song has been painted as a Zen-like parable, fodder for discussion during a community college Philosophy 101 course or a bunch of new bohemian mumbo jumbo, or something in between. With prose such as "I'm not aware of too many things/I know what I know if you know what I mean" and "Philosophy is the talk on a cereal box/Religion is the smile on a dog," the jury is likely to remain out. Our take? Either Edie was slyly poking fun at new age pop philosophy, or she's way deeper than we could hope to be.

What is definitely not shallow is the guitar playing on "What I Am." Guitarist Kenny Withrow's hip suspended chords evoke the work of the Police's Andy Summers and his memorable solo mimics Edie's cereal box chatter with rhythmic and melodic fluidity, coming to life through the inventive use of a Boss T Wah pedal.

Perhaps the Bohemians weren't what they were as they disbanded following the release of their second album, Ghost Of A Dog. Thankfully, Edie was able to find someone else to get deep with when she married Paul Simon in 1992, a union that's still what it was after 18 years.

Vixen Is On The Edge Of A Broken Heart

The group less formally known as the female Bon Jovi in this week's Forgotten Videos

GRAMMYs

Jun 21, 2017 - 12:57 am

GRAMMY.com

Welcome to Forgotten Videos. For some, these videos are forgotten, for others just filed away, and for others still, a totally brand-new discovery. Whichever category you fall into, each week we'll feature a video that's possibly been collecting dust when what it really deserves is a fresh look. Or vice-versa…. We're not here to judge, we just want to take you on a little trip down memory lane. Yep, you'll remember when hair was really that big, when drums were that up front in the mix, when video was young(er) and so were you.

Vixen"Edge Of A Broken Heart"1988

Here's some forgotten trivia from Forgotten Videos: Which all-female hair metal band's video featured a cameo by soft-rocker Richard Marx? If you guessed "Edge Of A Broken Heart" by Vixen, you probably cheated by viewing the video already. Not only did Marx make an indiscreet cameo, he was also a producer on Vixen's self-titled debut album and cowrote "Edge…" with former Tubes leader Fee Waybill.

No doubt his magic touch (Marx had seven Top 10 hits between 1987–1989) helped Vixen score one of their only two Top 40 hits. Vixen released the follow-up album Rev It Up in 1990 before their career quickly revved down. But for one moment, as brief as a cut in an MTV video, Vixen owned a spot in pubescent rocker wannabes' hearts.

Operating in a zone somewhere between Heart and the Runaways, but perhaps most accurately described as Poison with the makeup, Vixen were the late '80s version of a time-honored tradition: an all-female band trying to hang with the dudes (most of whom in that era were trying to look like chicks anyway). And fairly or unfairly, they were all compared to male counterparts. Heart were the female Led Zeppelin, the Runaways were girl Ramones and Vixen were a fairer Bon Jovi.

Reaching A Summit With Wilson Phillips

California scenery, vocal harmonies and an uplifting message in this week's Forgotten Videos

GRAMMYs

Jun 21, 2017 - 12:57 am

GRAMMY.com

Welcome to Forgotten Videos. For some, these videos are forgotten, for others just filed away, and for others still, a totally brand-new discovery. Whichever category you fall into, each week we'll feature a video that's possibly been collecting dust when what it really deserves is a fresh look. Or vice-versa…. We're not here to judge, we just want to take you on a little trip down memory lane. Yep, you'll remember when hair was really that big, when drums were that up front in the mix, when video was young(er) and so were you.

Wilson Phillips"Hold On"1990

When the three fresh-faced lasses in Wilson Phillips emerged on the pop scene in 1990, they did more than just "Hold On." The vocal trio quickly established themselves as a commercial force. Their self-titled debut album rocketed to No. 2 on the Billboard 200 and went on to sell more than 5 million copies in the United States. It also registered three No. 1 hits with "Hold On," "Release Me" and "You're In Love," and two other Top 20 hits, "Impulsive" and "The Dream Is Still Alive."

"Hold On" was the tune that provided Wilson Phillips their big breakthrough. The video to the inspirational song was an MTV staple and undoubtedly played a key role in catapulting the group to stardom. It smartly emphasized Wilson Phillips' youthful visual appeal and fetching vocal harmonizing amid the glorious beaches and mountains of their native Southern California. Here we are treated to aerial shots of the three women singing on a mountaintop, followed by close-ups of them vocalizing in the sand on a glorious sunny day, and later a stroll down a beach boardwalk.

"Hold On" certainly made the indelible connection between Wilson Phillips and the California sound and spirit that was so associated with their famous parents. Carnie and Wendy Wilson are the daughters of Beach Boys legend Brian Wilson. Chynna Phillips is the daughter of John and Michelle Phillips of the Mamas And The Papas, the '60s band that delivered one of the quintessential Golden State songs, "California Dreamin'."

Wilson Phillips netted four GRAMMY nominations in 1990, including Album Of The Year, Best New Artist and a nod for Best Pop Performance By A Duo Or Group With Vocal for "Hold On." The group's follow-up album, 1992's Shadows And Light, didn't fare as well commercially, but still attained platinum status. The trio subsequently disbanded and the members pursued various solo projects.

Holding on for more than a decade, in 2004 Wilson Phillips reunited to release California, an album of cover songs by the Beach Boys, the Mamas And The Papas, Eagles, and Fleetwood Mac, among others. In 2010 they unwrapped a holiday album, Christmas In Harmony.

Interest in the group spiked again recently with their cameo appearance in the comedy film Bridesmaids, in which they are seen performing "Hold On." (Phillips has a background as an actress having appeared in '80s teen films such as Some Kind Of Wonderful and Say Anything.)

Arguably Wilson Phillips' most memorable song, "Hold On" was co-written by Phillips and Carnie Wilson with GRAMMY-winning producer Glen Ballard. (Ballard later enjoyed further success as the producer for Alanis Morissette's Jagged Little Pill in 1995.) But why has the song resonated with listeners?

"The song has helped many people get through their own personal difficulties," said Carnie Wilson in the liner notes to the group's Greatest Hits album that was released in 2000. "It's extremely positive and uplifting."

The song is so uplifting that some fans have fulfilled their lifelong dreams of making their own scenic tribute to the "Hold On" video.

As Wilson Phillips enters the second decade of their career, perhaps "Hold On" doubles as a group mantra of sorts. The trio is currently in the midst of a brief tour and has alluded to a reality TV show and new album possibly on the horizon. Fans looking to keep a grip on Wilson Phillips can visit www.wilsonphillipsmusic.com.

Pigging Out On "Weird Al"

Welcome to Forgotten Videos, GRAMMY winners edition. For some, these videos are forgotten, for others just filed away, and for others still, a totally brand-new discovery. Our aim is to take you on a little trip down memory lane or help you discover new music, GRAMMY-style.

"Weird Al" Yankovic "Fat"1988

If one thing is certain in the career of GRAMMY-winning parody master "Weird Al" Yankovic, he loves a good parody dish with a hearty side of the King of Pop. Based on Michael Jackson's No. 1 hit "Bad," "Fat" not only is an anthem for the calorie-challenged who have "more chins than Chinatown," its arguably Yankovic at his zany best.

Comedy fans will recall Yankovic first parodied Jackson's smash "Beat It" with the foodie-laced "Eat It" in 1984. Yankovic's song nearly reached the Top 10 on the Billboard Hot 100 and earned him his first GRAMMY for Best Comedy Recording, so he fittingly decided to come back for seconds.

Starting with a vignette based on the extended video for Jackson's "Bad," a trim Yankovic is confronted in an empty subway by his former hippo-sized homies, who offer Ding Dongs, pizza and burgers and question his allegiance to their artery-blocking exploits. But Yankovic ultimately has enough and throws down the ultimate battle of the bulge in declaring, "You ain't fat, you ain't nothing!" In transforming into a tubby dancing bada**, Yankovic proceeds to wobble around with his portly posse, while scarfing down a ham sandwich on whole wheat and mimicking Jackson's moves and vocal nuances to a tee.

"Fat" is featured on Even Worse, an album with a cover based on Jackson's Bad album cover and containing parodies of songs by artists such as George Harrison, Billy Idol and Tiffany. Though the song could only manage No. 99 on the Billboard Hot 100, the "Fat" video tasted good enough to Recording Academy voters, who awarded Yankovic the GRAMMY for Best Concept Music Video in 1988.

While artists such as Paul McCartney and Prince have denied Yankovic permission for the use of their songs, Jackson reportedly was a big "Weird Al" fan, and bought copies of Even Worse for his friends. "[Jackson] doesn't have to let me do this kind of stuff," Yankovic once remarked. "The only reason he would let me is because he has a great sense of humor."

Taking his food obsession to the next level, in 1993 Yankovic released The Food Album, a compilation featuring "Fat" nestled alongside favorites such as his "La Bamba" parody ("Lasagna") and his parody of the Knack's "My Sharona" that helped launch his career in 1979 ("My Bologna"). In 2003 he won his third GRAMMY for Best Comedy Album for Poodle Hat, an album containing parodies of songs by Backstreet Boys and Eminem.

With a career spanning more than 30 years, Yankovic is showing no signs of slowing down. His most recent album, 2011's Alpocalypse, is the highest-charting album of his career, peaking at No. 9 on the Billboard 200. True to form, the album contains parodies of songs by current pop stars such as Lady Gaga, Miley Cyrus and Ke$ha. And Yankovic is looking for a fourth GRAMMY helping, as Alpocalypse is a current nominee for Best Comedy Album for the 54th Annual GRAMMY Awards.

In a 2011 interview with Maximum Fun, Yankovic intimated he is still carrying some serious weight: "It's a pretty heavy thing to realize that this far into my career I'm actually sort of peaking."

Have you ever seen the guy who says, "Yo Ding Dong man, Ding Dong yo," in the pastry aisle at the supermarket?

Midnight Star's Emergency

Welcome to Forgotten Videos. Well, for some forgotten, for others just filed away, and for others still, a totally brand-new discovery. Whichever category you fall into, each week we'll feature a video that's possibly been collecting dust when what it really deserves is a fresh look. Or, we'll be giving a fresh look at a video that deserves to be collecting dust. We're not here to judge, we just want to take you on a little trip down memory lane. Yep, you'll remember when hair was really that big, when drums were that up front in the mix, when video was young(er) and so were you.

Midnight Star"Operator"1984

It's been just a few days since the ghosts and goblins were out trick-or-treating, so the timing still feels right for Midnight Star. Incorporating sci-fi instrumentation and elements of funk, the band took their cues from George Clinton's Paliament Funkadelic, telepathing their influence to contemporary artists such as Janelle Monáe. "Operator" was a computer-age dance-floor smash, featuring keyboard blips and bleeps and lyrics suggesting computers and sex make for surprisingly natural bedfellows. Somehow, on this track they prove the point.

With a nonstop groove, vocoder-enhanced vocals, spacey spandex outfits and Tron-inspired graphics, "Operator" climbed the Billboard Hot 100 to No. 18 with a futuristic funk sound that was beginning to define the mid-'80s. But, despite all the adventurous trappings, the song was really a fairly conventional metaphor: a love so hot, it required a 911 call to douse the flames. Actually, there are a few other metaphors in this mixed-metaphor masterpiece, including the idea of operating one's body like (in the words of James Brown) a sex machine, as well as time-honored phone-sex metaphors ("Person-to-person is how it's got to be…We'll get together on the party line").

Formed in 1976 at Kentucky State University, Midnight Star was the creation of brothers Reginald and Vincent Calloway and singer Belinda Lipscomb. From 1983 to 1986, the group landed three Top 10 Billboard R&B albums. In 1988, the Calloway brothers left the group to form Calloway, which scored the No. 2 hit "I Wanna Be Rich,"sort of a precursor to Bruno Mars and Travie McCoy's "Billionaire." Among little-known Calloway facts: They introduced Kenneth "Babyface" Edmonds' band the Deele to executives at their label Solar, and they owned the world's largest working phone.

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